What is UNCONSCIOUS INFERENCE? What does UNCONSCIOUS INFERENCE mean? UNCONSCIOUS INFERENCE meaning - UNCONSCIOUS INFERENCE definition - UNCONSCIOUS INFERENCE explanation.
Source: Wikipedia.org article, adapted under https://creativecommons.org/licenses/by-sa/3.0/ license.
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Unconscious inference (German: unbewusster Schluss), also referred to as unconscious conclusion, is a term of perceptual psychology coined in 1867 by the German physicist and polymath Hermann von Helmholtz to describe an involuntary, pre-rational and reflex-like mechanism which is part of the formation of visual impressions. While precursory notions have been identified in the writings of Thomas Hobbes, Robert Hooke, and Francis North (especially in connection with auditory perception) as well as in Francis Bacon's Novum Organum, Helmholtz's theory was long ignored or even dismissed by philosophy and psychology. It has since received new attention from modern research, and the work of recent scholars has approached Helmholtz's view.
In the third and final volume of his Handbuch der physiologischen Optik (1856–67, translated as Treatise on Physiological Optics in 1920-25), Helmholtz discussed the psychological effects of visual perception. His first example is that of the illusion of the sun rotating around the earth:
Every evening apparently before our eyes the sun goes down behind the stationary horizon, although we are well aware that the sun is fixed and the horizon moves.
We are unable to do away with such optical illusions by convincing ourselves rationally that our eyes have played tricks on us: obstinately and unswervingly, the mechanism follows its own rule and thus wields an imperious mastery over the human mind. While optical illusions are the most obvious instances of unconscious inference, people's perceptions of each other are similarly influenced by such unintended, unconscious conclusions. Helmholtz's second example refers to theatrical performance, arguing that the strong emotional effect of a play results mainly from the viewers' inability to doubt the visual impressions generated by unconscious inference:
An actor who cleverly portrays an old man is for us an old man there on the stage, so long as we let the immediate impression sway us, and do not forcibly recall that the programme states that the person moving about there is the young actor with whom we are acquainted. We consider him as being angry or in pain according as he shows us one or the other mode of countenance and demeanour. He arouses fright or sympathy in us ; and the deep-seated conviction that all this is only show and play does not hinder our emotions at all, provided the actor does not cease to play his part. On the contrary, a fictitious tale of this sort, which we seem to enter into ourselves, grips and tortures us more than a similar true story would do when we read it in a dry documentary report.
The mere sight of another person is sufficient to produce an emotional attitude without any reasonable basis whatsoever, yet highly resilient against all rational criticism. Obviously, the impression is based on the spontaneous, spurious attribution of traits - a process we can hardly avoid, for the human eye, so to speak, is incapable of doubt and thus cannot ward off the impression.
The formation of visual impressions, Helmholtz realized, is achieved primarily by unconscious judgments, the results of which "can never once be elevated to the plane of conscious judgments" and thus "lack the purifying and scrutinizing work of conscious thinking". In spite of this, the results of unconscious judgments are so impervious to conscious control, so resistant to contradiction that they are "impossible to get rid of" and "the effect of them cannot be overcome". So whatever impressions this unconscious inference process leads to, they strike "our consciousness as a foreign and overpowering force of nature".....

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State of Mind (Clint Black song)

"State of Mind" is a song written and recorded by American country music artist Clint Black. It was released in November 1993 as the third single from his album No Time to Kill. It peaked at number 2 in both the United States and Canada.

The song's b-side, "Tuckered Out," charted at number 74 for the week of February 5, 1994.

Black Sun (2005 film)

Gary Tarn explores the story of Hugues de Montalembert, a New York-based artist and filmmaker who was blinded by a vicious, unprovoked attack by two young assailants in 1978. After the attack, Montalembert learned to cope with his despair and to go through life a new way, seeking to make ordinary things extraordinary. Defying expectation, this remarkable artist continued to travel the world alone, learning to navigate life in a new and beautiful way. Through creative imagery and philosophical narration, director and composerGary Tarn creates an expressionist, poetic meditation both on an extraordinary life without vision, and on the idea of perception in general.

Video that makes unconscious

What is UNCONSCIOUS INFERENCE? What does UNCONSCIOUS INFERENCE mean?

What is UNCONSCIOUS INFERENCE? What does UNCONSCIOUS INFERENCE mean? UNCONSCIOUS INFERENCE meaning - UNCONSCIOUS INFERENCE definition - UNCONSCIOUS INFERENCE explanation.
Source: Wikipedia.org article, adapted under https://creativecommons.org/licenses/by-sa/3.0/ license.
SUBSCRIBE to our Google Earth flights channel - https://www.youtube.com/channel/UC6UuCPh7GrXznZi0Hz2YQnQ
Unconscious inference (German: unbewusster Schluss), also referred to as unconscious conclusion, is a term of perceptual psychology coined in 1867 by the German physicist and polymath Hermann von Helmholtz to describe an involuntary, pre-rational and reflex-like mechanism which is part of the formation of visual impressions. While precursory notions have been identified in the writings of Thomas Hobbes, Robert Hooke, and Francis North (especially in connection with auditory perception) as well as in Francis Bacon's Novum Organum, Helmholtz's theory was long ignored or even dismissed by philosophy and psychology. It has since received new attention from modern research, and the work of recent scholars has approached Helmholtz's view.
In the third and final volume of his Handbuch der physiologischen Optik (1856–67, translated as Treatise on Physiological Optics in 1920-25), Helmholtz discussed the psychological effects of visual perception. His first example is that of the illusion of the sun rotating around the earth:
Every evening apparently before our eyes the sun goes down behind the stationary horizon, although we are well aware that the sun is fixed and the horizon moves.
We are unable to do away with such optical illusions by convincing ourselves rationally that our eyes have played tricks on us: obstinately and unswervingly, the mechanism follows its own rule and thus wields an imperious mastery over the human mind. While optical illusions are the most obvious instances of unconscious inference, people's perceptions of each other are similarly influenced by such unintended, unconscious conclusions. Helmholtz's second example refers to theatrical performance, arguing that the strong emotional effect of a play results mainly from the viewers' inability to doubt the visual impressions generated by unconscious inference:
An actor who cleverly portrays an old man is for us an old man there on the stage, so long as we let the immediate impression sway us, and do not forcibly recall that the programme states that the person moving about there is the young actor with whom we are acquainted. We consider him as being angry or in pain according as he shows us one or the other mode of countenance and demeanour. He arouses fright or sympathy in us ; and the deep-seated conviction that all this is only show and play does not hinder our emotions at all, provided the actor does not cease to play his part. On the contrary, a fictitious tale of this sort, which we seem to enter into ourselves, grips and tortures us more than a similar true story would do when we read it in a dry documentary report.
The mere sight of another person is sufficient to produce an emotional attitude without any reasonable basis whatsoever, yet highly resilient against all rational criticism. Obviously, the impression is based on the spontaneous, spurious attribution of traits - a process we can hardly avoid, for the human eye, so to speak, is incapable of doubt and thus cannot ward off the impression.
The formation of visual impressions, Helmholtz realized, is achieved primarily by unconscious judgments, the results of which "can never once be elevated to the plane of conscious judgments" and thus "lack the purifying and scrutinizing work of conscious thinking". In spite of this, the results of unconscious judgments are so impervious to conscious control, so resistant to contradiction that they are "impossible to get rid of" and "the effect of them cannot be overcome". So whatever impressions this unconscious inference process leads to, they strike "our consciousness as a foreign and overpowering force of nature".....

Video that makes unconscious

published: 25 May 2017

What is UNCONSCIOUS INFERENCE? What does UNCONSCIOUS INFERENCE mean?

What is UNCONSCIOUS INFERENCE? What does UNCONSCIOUS INFERENCE mean? UNCONSCIOUS INFERENCE meaning - UNCONSCIOUS INFERENCE definition - UNCONSCIOUS INFERENCE explanation.
Source: Wikipedia.org article, adapted under https://creativecommons.org/licenses/by-sa/3.0/ license.
SUBSCRIBE to our Google Earth flights channel - https://www.youtube.com/channel/UC6UuCPh7GrXznZi0Hz2YQnQ
Unconscious inference (German: unbewusster Schluss), also referred to as unconscious conclusion, is a term of perceptual psychology coined in 1867 by the German physicist and polymath Hermann von Helmholtz to describe an involuntary, pre-rational and reflex-like mechanism which is part of the formation of visual impressions. While precursory notions have been identified in the writings of Thomas Hobbes, Robert Hooke...

What is UNCONSCIOUS INFERENCE? What does UNCONSCIOUS INFERENCE mean? UNCONSCIOUS INFERENCE meaning - UNCONSCIOUS INFERENCE definition - UNCONSCIOUS INFERENCE explanation.
Source: Wikipedia.org article, adapted under https://creativecommons.org/licenses/by-sa/3.0/ license.
SUBSCRIBE to our Google Earth flights channel - https://www.youtube.com/channel/UC6UuCPh7GrXznZi0Hz2YQnQ
Unconscious inference (German: unbewusster Schluss), also referred to as unconscious conclusion, is a term of perceptual psychology coined in 1867 by the German physicist and polymath Hermann von Helmholtz to describe an involuntary, pre-rational and reflex-like mechanism which is part of the formation of visual impressions. While precursory notions have been identified in the writings of Thomas Hobbes, Robert Hooke, and Francis North (especially in connection with auditory perception) as well as in Francis Bacon's Novum Organum, Helmholtz's theory was long ignored or even dismissed by philosophy and psychology. It has since received new attention from modern research, and the work of recent scholars has approached Helmholtz's view.
In the third and final volume of his Handbuch der physiologischen Optik (1856–67, translated as Treatise on Physiological Optics in 1920-25), Helmholtz discussed the psychological effects of visual perception. His first example is that of the illusion of the sun rotating around the earth:
Every evening apparently before our eyes the sun goes down behind the stationary horizon, although we are well aware that the sun is fixed and the horizon moves.
We are unable to do away with such optical illusions by convincing ourselves rationally that our eyes have played tricks on us: obstinately and unswervingly, the mechanism follows its own rule and thus wields an imperious mastery over the human mind. While optical illusions are the most obvious instances of unconscious inference, people's perceptions of each other are similarly influenced by such unintended, unconscious conclusions. Helmholtz's second example refers to theatrical performance, arguing that the strong emotional effect of a play results mainly from the viewers' inability to doubt the visual impressions generated by unconscious inference:
An actor who cleverly portrays an old man is for us an old man there on the stage, so long as we let the immediate impression sway us, and do not forcibly recall that the programme states that the person moving about there is the young actor with whom we are acquainted. We consider him as being angry or in pain according as he shows us one or the other mode of countenance and demeanour. He arouses fright or sympathy in us ; and the deep-seated conviction that all this is only show and play does not hinder our emotions at all, provided the actor does not cease to play his part. On the contrary, a fictitious tale of this sort, which we seem to enter into ourselves, grips and tortures us more than a similar true story would do when we read it in a dry documentary report.
The mere sight of another person is sufficient to produce an emotional attitude without any reasonable basis whatsoever, yet highly resilient against all rational criticism. Obviously, the impression is based on the spontaneous, spurious attribution of traits - a process we can hardly avoid, for the human eye, so to speak, is incapable of doubt and thus cannot ward off the impression.
The formation of visual impressions, Helmholtz realized, is achieved primarily by unconscious judgments, the results of which "can never once be elevated to the plane of conscious judgments" and thus "lack the purifying and scrutinizing work of conscious thinking". In spite of this, the results of unconscious judgments are so impervious to conscious control, so resistant to contradiction that they are "impossible to get rid of" and "the effect of them cannot be overcome". So whatever impressions this unconscious inference process leads to, they strike "our consciousness as a foreign and overpowering force of nature".....

What is UNCONSCIOUS INFERENCE? What does UNCONSCIOUS INFERENCE mean? UNCONSCIOUS INFERENCE meaning - UNCONSCIOUS INFERENCE definition - UNCONSCIOUS INFERENCE explanation.
Source: Wikipedia.org article, adapted under https://creativecommons.org/licenses/by-sa/3.0/ license.
SUBSCRIBE to our Google Earth flights channel - https://www.youtube.com/channel/UC6UuCPh7GrXznZi0Hz2YQnQ
Unconscious inference (German: unbewusster Schluss), also referred to as unconscious conclusion, is a term of perceptual psychology coined in 1867 by the German physicist and polymath Hermann von Helmholtz to describe an involuntary, pre-rational and reflex-like mechanism which is part of the formation of visual impressions. While precursory notions have been identified in the writings of Thomas Hobbes, Robert Hooke, and Francis North (especially in connection with auditory perception) as well as in Francis Bacon's Novum Organum, Helmholtz's theory was long ignored or even dismissed by philosophy and psychology. It has since received new attention from modern research, and the work of recent scholars has approached Helmholtz's view.
In the third and final volume of his Handbuch der physiologischen Optik (1856–67, translated as Treatise on Physiological Optics in 1920-25), Helmholtz discussed the psychological effects of visual perception. His first example is that of the illusion of the sun rotating around the earth:
Every evening apparently before our eyes the sun goes down behind the stationary horizon, although we are well aware that the sun is fixed and the horizon moves.
We are unable to do away with such optical illusions by convincing ourselves rationally that our eyes have played tricks on us: obstinately and unswervingly, the mechanism follows its own rule and thus wields an imperious mastery over the human mind. While optical illusions are the most obvious instances of unconscious inference, people's perceptions of each other are similarly influenced by such unintended, unconscious conclusions. Helmholtz's second example refers to theatrical performance, arguing that the strong emotional effect of a play results mainly from the viewers' inability to doubt the visual impressions generated by unconscious inference:
An actor who cleverly portrays an old man is for us an old man there on the stage, so long as we let the immediate impression sway us, and do not forcibly recall that the programme states that the person moving about there is the young actor with whom we are acquainted. We consider him as being angry or in pain according as he shows us one or the other mode of countenance and demeanour. He arouses fright or sympathy in us ; and the deep-seated conviction that all this is only show and play does not hinder our emotions at all, provided the actor does not cease to play his part. On the contrary, a fictitious tale of this sort, which we seem to enter into ourselves, grips and tortures us more than a similar true story would do when we read it in a dry documentary report.
The mere sight of another person is sufficient to produce an emotional attitude without any reasonable basis whatsoever, yet highly resilient against all rational criticism. Obviously, the impression is based on the spontaneous, spurious attribution of traits - a process we can hardly avoid, for the human eye, so to speak, is incapable of doubt and thus cannot ward off the impression.
The formation of visual impressions, Helmholtz realized, is achieved primarily by unconscious judgments, the results of which "can never once be elevated to the plane of conscious judgments" and thus "lack the purifying and scrutinizing work of conscious thinking". In spite of this, the results of unconscious judgments are so impervious to conscious control, so resistant to contradiction that they are "impossible to get rid of" and "the effect of them cannot be overcome". So whatever impressions this unconscious inference process leads to, they strike "our consciousness as a foreign and overpowering force of nature".....

What is UNCONSCIOUS INFERENCE? What does UNCONSCIOUS INFERENCE mean?

What is UNCONSCIOUS INFERENCE? What does UNCONSCIOUS INFERENCE mean? UNCONSCIOUS INFERENCE meaning - UNCONSCIOUS INFERENCE definition - UNCONSCIOUS INFERENCE explanation.
Source: Wikipedia.org article, adapted under https://creativecommons.org/licenses/by-sa/3.0/ license.
SUBSCRIBE to our Google Earth flights channel - https://www.youtube.com/channel/UC6UuCPh7GrXznZi0Hz2YQnQ
Unconscious inference (German: unbewusster Schluss), also referred to as unconscious conclusion, is a term of perceptual psychology coined in 1867 by the German physicist and polymath Hermann von Helmholtz to describe an involuntary, pre-rational and reflex-like mechanism which is part of the formation of visual impressions. While precursory notions have been identified in the writings of Thomas Hobbes, Robert Hooke, and Francis North (especially in connection with auditory perception) as well as in Francis Bacon's Novum Organum, Helmholtz's theory was long ignored or even dismissed by philosophy and psychology. It has since received new attention from modern research, and the work of recent scholars has approached Helmholtz's view.
In the third and final volume of his Handbuch der physiologischen Optik (1856–67, translated as Treatise on Physiological Optics in 1920-25), Helmholtz discussed the psychological effects of visual perception. His first example is that of the illusion of the sun rotating around the earth:
Every evening apparently before our eyes the sun goes down behind the stationary horizon, although we are well aware that the sun is fixed and the horizon moves.
We are unable to do away with such optical illusions by convincing ourselves rationally that our eyes have played tricks on us: obstinately and unswervingly, the mechanism follows its own rule and thus wields an imperious mastery over the human mind. While optical illusions are the most obvious instances of unconscious inference, people's perceptions of each other are similarly influenced by such unintended, unconscious conclusions. Helmholtz's second example refers to theatrical performance, arguing that the strong emotional effect of a play results mainly from the viewers' inability to doubt the visual impressions generated by unconscious inference:
An actor who cleverly portrays an old man is for us an old man there on the stage, so long as we let the immediate impression sway us, and do not forcibly recall that the programme states that the person moving about there is the young actor with whom we are acquainted. We consider him as being angry or in pain according as he shows us one or the other mode of countenance and demeanour. He arouses fright or sympathy in us ; and the deep-seated conviction that all this is only show and play does not hinder our emotions at all, provided the actor does not cease to play his part. On the contrary, a fictitious tale of this sort, which we seem to enter into ourselves, grips and tortures us more than a similar true story would do when we read it in a dry documentary report.
The mere sight of another person is sufficient to produce an emotional attitude without any reasonable basis whatsoever, yet highly resilient against all rational criticism. Obviously, the impression is based on the spontaneous, spurious attribution of traits - a process we can hardly avoid, for the human eye, so to speak, is incapable of doubt and thus cannot ward off the impression.
The formation of visual impressions, Helmholtz realized, is achieved primarily by unconscious judgments, the results of which "can never once be elevated to the plane of conscious judgments" and thus "lack the purifying and scrutinizing work of conscious thinking". In spite of this, the results of unconscious judgments are so impervious to conscious control, so resistant to contradiction that they are "impossible to get rid of" and "the effect of them cannot be overcome". So whatever impressions this unconscious inference process leads to, they strike "our consciousness as a foreign and overpowering force of nature".....